MASTER 


NO 


9 


20 


MICROFILMED  1991 

i 

COLUMBIA  UNIVERSITY  LIBRARIES/NEW  YORK 


as  part  of  the 
Foundations  of  Western  Civilization  Preservation  Project" 


Funded  by  the 
NATIONAL  ENDOWMENT  FOR  THE  HUMANITIES 


Reproductions  may  not  be  made  without  permission  from 

Columbia  University  Library 


COPYRIGHT  STATEMENT 

The  copyright  law  of  the  United  States  ~  Title  17,  United 
States  Code  ~  concerns  the  making  of  photocopies  or  other 
reproductions  of  copyrighted  material. . . 

Columbia  University  Library  reserves  the  right  to  refuse  to 
accept  a  copy  order  if,  in  its  judgement,  fulfillment  of  the  order 
would  involve  violation  of  the  copyright  law. 


A  UTHOR : 


DENNISON,  WALTER 


TITLE: 


MOVEMENTS  OF  THE 
CHORUS  CHANTING.. 

PLACE: 

DA  TE : 


COLUMBIA  UNIVERSITY  LIBRARIES 
PRESERVATION  DEPARTMENT 


Master  Negative  # 


FORM  TARGET 


Original  Material  as  FUmed  -  Existing  Bibliographic  Record 


BKS/PROO   BOOKS       FUL/BIB    NYCG91-B56414 
Record  1  of  0  -  Record  added  today 

RTYP:a    ST:p   FRN: 
DCF-?    CSC:?    MOO: 
L:eng     IHT:?   GPC:?   BIO:? 

P0:199i/  REP  =  ?   ^P^- 

OR:     POL:     DM:     RR: 

NNCtcNNC 


ID:NYCG91-B564i4 
CC:9668   BLT:ani 


CP:nvu 
PC:r 
MMO: 
040 


MS: 

NR: 
FIC:? 
FSI:? 
COL: 


Acauisitions 


NYCG-PT 


EL: 
ATC: 
CON:??? 

ILC:????   MEI:? 
EML:      GEN: 


AD:06-06-91 
UD:06-06-91 


11:? 
BSE: 


»S,  rC 


100  10  Dennison.  Walter  chanting  the  Carmen  Saeculare  of  Horacei^hl 

245  14  The  movements  of  the  choru^  cnanuiuj 

microform  I- 

260  0  University  of  Michigan  Studie: 

300  49-66  p. 

LOG  ORIG 

QD  06-06-91 


Restrictions  on  Use: 


FILM     SIZE:_35triin 
IMAGE  PLACEMENT:  lA 

DATE     FILMED:  JT./^ 


TECHNICAL  MICROFORM  DATA 
REDUCTION     RATIO:__J_L 


IB    IIB 


INITIALS 


Ql 


HLMEDBY:    RESEARCH  PUBLICATIONS.  INC  WOODBRIEXSE.  CT 


^ 


^% 


^V^. 
^^, 


Association  for  information  and  image  Management 

1100  Wayne  Avenue,  Suite  1100 
Silver  Spring,  Maryland  20910 

301/587-8202 


Centimeter 

1         2        3        4 

iMiliiii  iiiil||i|l||||h||ilii|iliiiim^ 


9        10       11       12       13       14       15   mm 


m\ 


7        8        9        10       11       12       13       14       1 

i|i,ilMii|m||||||||ii|liil|lllllllllH^ 


Inches 


1.0 


i.i 


1.25 


I—  111  J£ 

1 5.0  =^ 

1 5.6  mil  3.2 

171 


M 

1 4.0 


is.    u 

■iUU 


1.4 


2.5 


2.0 


1.8 


1.6 


MflNUFflCTURED   TO  flllM  STflNDfiRDS 
BY   fiPPLIEO   IMAGE-    INC. 


THE  MOVEMENTS  OF  THE  CHORUS  CHANTING- 
THE  CARMEN  SAECULARE  OF  HORACE. 

Previous  to  the  discovery  of  the  inscription  commem- 
orating the  Saccular  Games  held  by  Augustus  in  17  b.  c, 
little  attention  had  been  paid  to  the  movements  of  the 
chorus  tliat  chanted  Horace's  Carmen  Saeculare.     Steiner/ 
following  Zosimus  (Hist.  2,  5),  represented  the  chorus  L 
singing  in  the  temple  of  Apollo  on  the  Palatine  hill ;  citing 
the  reference  to  this  hill  {Palatinas  .  .  .  arces,  1.  65)  he 
remarks  that  in  the  entire  hymn  no  mention  is  made  of  the 
temple    upon    the    Capitoline.      Schmelzkopf,^  influenced 
perhaps  by  a  note  of  Porphyrio  (see  p.  53),  believed  that  the 
Carmen  ivas  sung  also  in  the  temple  of  Jupiter  Capitolinus, 
but  evidently  did  not  think  of  the  chorus  as  chanting  while' 
they  moved  from  one  temple  to  the  other.     Kiihn,«  Ribbeck/ 
and  Preller/  were  of  the  opinion  that  the  hymn  was  sung 
in  the  temple  of  Apollo  Palatinus;   but  Preller  went  a  step 
further  and  expressed  his  belief  that  on  a  certain  coin  of 
Domitian   (described  p.  55),  struck  in  commemoration  of 
the  Ludi  Saeculares,  celebrated  in  his  reign,  the  chorus  is 
represented  as  singing  the  Carmen  in  the  temple  of  Apollo, 
and  not,  as  thought  by  some,  in  a  procession.    With  this 
view  Marquardf  agreed,  basing  his  conclusion   upon  the 
statement  of  Zosimus  and  the  coin;  so  also  Kiessling  and 
other  editors  of  Horace.     Down  to  1891  scholars  generally 
accepted  without  question  the  rendering  of  the  hymn  by  a 

'  De  Horatii  Carmine  Saeculari  (Krenznach,  1841),  p.  3. 
2De  Horatiano  Carm.  Saec.  disputatiuncula  (Leipzig,  1838). 
»De  Q.  Horatii  Carm.  Saec.  (Breslau,  1877),  p.  6. 
*  Gesch.  der  rom.  Dichtung,  vol.  2,  p.  140. 
'■^Kom.  Myth.  vol.  2\  p.  90;  cf.  also  vol.  1,  p.  310. 
♦iRom.  Staatsverw.,  vol.  3»  p.  393. 
4 


60 


University  of  Michigan  Studies 


The  Carmen  Saeculare 


51 


chorus  in  the  temple  of  Apollo  on  the  Palatine,  on  the  third 

day  of  the  festival.  ,      . 

In  1891,  Theodore  Mommsen  took  up  the  question  in  his 
commentary  on  the  recently  discovered  Saccular  inscription, 
and  advanced  the  theory  that  the  Carmen  Saeculare  was  a 
processional,  sung  by  a  chorus  moving  from  the  tenaple  of 
Apollo  on  the    Palatine    hill  to  the  temple  of  Jupiter 
Optimus  Maximus  upon  the  Capitoline,  and  thence  return- 
ing    This  contention  started  an  active  discussion,  in  which 
many  have  taken  part.    It  would  be  foreign  to  our  purpose 
to  make  an  analysis  of  the  various  contributions  to  the 
literature  of  the  subject,  which  have  appeared  m  the  last 
dozen  years ;  they  are  for  the  most  part  easily  accessible. 
It  may  suffice  to  mention  among  the  more  important  papers 
and  references,  those  of  Wissowa,'  Gardthausen,^  Dressel, 
Thiele,*  Lanciani,^  and  Waltz,«  who  in  the  main  accept 
Mommsen's  view ;    and  of  Vahlen,^  Wartenberg,«  Christ, 
Friedrich,-Schanz,"Gruppe,-Schbll,-Vollbrecht,-Hir8ch- 

»Die  Saecularfeier  des  Augtistiis,  Marburg,  1894. 
» Augustus  und  seine  Zeit,  vol.  1,  pp.  1015-1017;  toI.  2,  p.  630. 
»Eph.  Epig.,  vol.  8,  pp.  313-314,  no.  10. 
4Horaz  und  sein  Sakulargedicht,  Erfurt,  1900. 
6  Pagan  and  Christian  Rome,  p.  81,  and  Atlantic  Monthly,  Feb., 
1892,  p.  152. 

•  Rev.  de  Fhil.,  1894,  pp.  118  fol. 

TtJber  das  Saculargedicht  des  Horatlus,  Sitz.  d.  Berl.  Acad.,  1892, 

pp.  1006-1022. 

8  Jahresb.  d.  phil.  Vereins  zu  Berlin,  vol.  18  (1892),  pp.  192-193. 

•  Das  Carmen  Saeculare  und  die  neuaufgefundenen   Sacularacten, 
Sitz.  d.  kgl.  bayr.  Acad.,  1893,  pp.  136  fol. 

10  Q.  Horatius  Flaccus,  Phil.  Untersuchungen  (Leipzig,  1894),  pp.  92 

fol. 
"Gesch.  der  rom.  Litteratur,  vol.  2«,  1,  pp.  115-117. 
"Bursian's  Jahresb.  f.  Altertumsw.,  1894,  III,  pp.  112-115. 
18  Die  Sacularfeier  des  Augustus  und  das  Festgedicht  des   Horaz, 
Deutsche  Rundschau,  vol.  90  (1897),  pp.  54-71. 
"Das  Sakularfest  des  Augustus  (Gutersloh,  1900),  pp.  83-35. 


felder,^  Lafaye,^  and  Slaughter,'  who  reject  the  processional 
theory.  Boissier*  does  not  express  himself  definitely.  I 
have  not  seen  the  articles  of  Mosca,^  or  Basiner."  Not- 
withstanding the  amount  that  has  been  written  on  the 
subject,  the  differences  of  opinion  are  still  so  marked  that 
it  seems  worth  while  again  to  review  the  evidence  in  order, 
if  possible,  to  reach  the  solution  of  a  problem  which,  though 
in  itself  of  no  great  moment,  possesses  a  considerable  degree 
of  interest  on  account  of  its  literary  associations. 

We  begin  with  the  statement  of  Mommsen  which  is  of 
sufficient  importance  to  warrant  quoting  in  full:^    "Hoc 
novum    addiscimus   carmen  quod  composuit  Q,   Horatius 
Flaccus  non  solum  in  Palatio  cantatum  esse  sed  item  in 
Capitolio.    Id  quominus  accipiamus  de  eodem  carmine  non 
brevi  bis  repetito  argumentum  obstat:  nam  ineptum  foret 
lovem  lunonemque  ita  celebrari  ut  neque  in  principio  car- 
minis  neque  in  fine  ipsi  comparerent.    At  cum  ab  Apollinis 
Dianaeque  laudibus  carmen  et  incipiat  et  in  eas  desinat, 
media  habet  quae  non   conveniunt    nisi   diis  Capitolinis! 
Eos,  enim,  quos  boius  vemratur  alhis  Augustus  esse  Capi- 
tolinos  etsi  poeta  non  dixit,  ideo  quod  eorum  propriae  sunt 
victimae  illae  ab  iis  nominandis  abstinuit,  sublataque  est  de 
ea  re  dubitatio  omnis  actis  patefactis.     Itaque  et  auctorum 
de  loco  testatio  et  ipsa  poetae  sollertia  aut  admittunt  aut 
adeo  requirunt  ut  carmen  statuamus  cantatum  esse  a  choris 
sollemni  pompa  ex  Palatio  ad  Capitolium  pergentibus  et 

1  Woch.  1  klass.  Phil.,  1901,  pp.  319,  430. 

»Sur  le  Carmen  Saeculare  d'Horace,  Rev.  de  Phil.,  vol    18  (1894) 
pp.  126  fol.  ' 

3  The  Acta  Ludorum  and  the  Carmen  Saeculare  of  Horace   Trans 
Amer.  Phil.  Assoc,  1895,  pp.  69  fol.  ' 

*Les  Jeux  S^culaires  d'Auguste,  Rev.  des  Deux  Mondes,  vol   110 
(1892),  pp.  75  fol. 

5  Carmen  Saeculare,  Esposizione  e  Commento,  Chieti,  1895. 
•  Ludi  Saeculares,  Warschau,  1901. 

7  Ephemeris  Epigraphica,  vol.  8,  pp.  256-257  =  Mon.  Ant.  della  Reale 
Acad.  de'Lincei,  vol.  1  (1891),  p.  649. 


fl 


52  rXIVERSITT   OF   MICHIGAN    STUDIES 

inde  redenntibus  ad  aedem  Apollinis  Palatinam.  Carmen 
qui  legit,  deo8,  qni  pro  Romula  gente  invocautur  in  medio 
eo,  qnominns  habeat  pro  Apolline  et  Diana  qu.  prox.me 
praecedant  obstabat  certe  apud  lectorem  peritum  propr.etas 
yictiraarnm;  praeterea,  qui  audiverunt  cantotum,  qmnam 
essent  iUi  nuUo  modo  dubitare  poterant,  mode  statuas  hos 
versus  cantatos  esse  in  conspecta  aedis  lovis  et  lunonis  in 

^Tntn "article  entitled,  Die  Acten  zu  den,  Saculargedicht 
des  Horaz,  which  appeared  in  Die  Nation  of  Dec.  U,  1891, 
Mommsen  again  states  his  view  regarding  the  movement  ol 
the  chorus.     He  says:  "Es  passt  weiter  wohl  dazu  (..  e. 
that  stanzas  10-13  are  directed  t«  Jupiter  and  Juno)  dass, 
.vie  die  Akten   bezeugen,  das  'Lied'-nicht  die  L.eder- 
gesungen  wird  nicht  bloss  auf  dem  Palatin  am   ApoUo- 
ten.pel,  sondern  auch  auf  dem  Capitol  an  dem  Hei l.gt Imni 
des  Jupiter  und  der  Juno.     Ohne  Frage  ist  das  Gedicht  em 
Processionslied  gewesen.    Beginnend  am  Apollotempel,  wo 
fiir  diesen  Tag  der  Mittelpunkt  der  Feier  war,  wird  der 
Festzng  fiber  das  Forum  auf  der  Via  Sacra  zuni  Capitol 
hinaufgestiegen  sein  und  dann  von  da  sich  zuruok  zum 
Palatin    gewendet   haben ;    und    insofern    ist    es    in    Uer 
Ordnung,  dass  die  ersten  wie  die  letzten  Strophen  an  Apolo 
und  liiana,  die  mittleren  an  Jupiter  und  Juno  ger.cUtet 

''"it  we  examine  the  facte  brought  forward  by  Momn.M.n  to 
iustify  his  conclusion,  we  find  that  he  had  before  lum  no 
fresh  evidence  except  that  derived  from  the.  Saecu'ar  in- 
scription.  What  bearing  this  has  upon  the  question  we 
shall  see  later;  let  us  first  examine  the  evidence,  meager 
enough  at  best,  which  haa  come  down  to  us  from  other 

sources.  ^_. 

These  sources  consist  of  two  scholia  to  Horace,  a  passage 
iu  the  History  of  Zosimus,  certain  Sibylline  verses  quoted 
both  by  Zosimus  and  by  Phlegon  Trallianus,  and  a  coin  of 
Domitian. 


The  Carmen  Saeculare 


53 


Of  the  two  scholia  one,  falsely  attributed  to  Acro,^  is 
found  in  a  manuscript  of  Horace  of  the  eleventh  century, 
at  Paris  (Bib.  nat,  no.  7975y).  It  forms  a  part  of  the 
heading  of  the  Carmen  Saeculare,  and  reads  thus:  huipit 
Carfnen  Seculare,  quod  patrimi  et  mairimi  cantaricnt  in 
choro  puellarum  et  puerorum  ad  ApoUinem  et  Dianam,  The 
other  scholium  is  by  Porphyrio,'^  and  appears  in  the  preface 
to  his  notes  on  the  poem;  it  reads:  Hoc  Carnien  Saeculare 
inscribitur.  Cum  enim  Saeculares  ludos  Augustus  celebraret, 
secundum  ritum  priscae  religionis  a  virginibus  puerisque 
praetextatis  m  CapitoUo  cantatum  est. 

The  testimony  of  the  second  scholium,  that  the  Carmen 
was  sung  upon  the  Capitoline  hill,  may  possibly  be  a 
reminiscence  of  the  Saccular  inscription ;  the  language  of 
the  first  is  easily  reconcilable  with  the  supposition  that  the 
hymn  was  chanted  in  the  temple  of  Apollo  Palatinus,  in 
which  Diana  and  Latona  were  also  honored;  but  in  neither 
is  there  any  hint  that  the  poem  was  rendered  by  the  chorus 
when  passing  from  one  temple  to  the  other. 

The  passage  in  Zosimus  (Hist  2,  5)  forms  a  part  of  a 
somewhat  detailed  description  of  the  celebration  of  the 
Saecular  games  by  Augustus.  '  On  the  third  day '  says  this 
writer,  '  in  the  temple  of  Apollo  upon  the  Palatine,  twenty- 
seven  boys  and  as  many  girls,  of  prominent  families,  whose 
fathers  and  mothers  were  still  living,  chanted  in  both  the 
Greek  and  the  Latin  language  songs  and  hymns  of  praise 
for  the  preservation  of  the  cities  under  Koman  sway.'  ' 

Here  we  find  it  unequivocally  stated  that  the  hymn  was 
sung  in  the  temple  upon  the  Palatine.  Nothing  is  said  of 
a  repetition  upon  the  Capitoline,  nor  is  there  any  intimation 

» Ed.  Hauthal,  vol.  1,  p.  433,  11.  13-15. 

8  Ed.  Holder,  p.  180,  11.  1-6. 

^'Ufiep^  6e  Tphy  kv  t^  Kara  to  tt alar lov  'Kit dlluvoq  lepifi  rpig 
ewia  TToiSeg  e7ri<j>ave2g  fiera  Trapdivorv  ToaovTuv^  oi  navrec  a/jxl>i6aXeic,  bnep 
earivt  afi^ripovQ  Tovq  yovelq  ^;j;ovref  irtpidvTag,  vfivovg  gdovai  rv  te  ''ElXijvuv 
KOI  'Pufiaiuv  <^vtj  Kai  -Kaiavag  6i^  cjv  ai  tmo  'Pufialovg  au^ovrcu  irdTieig. 


54 


University  of  Michigan  Studies 


of  a  procession.  The  character  of  Zosimus's  description, 
and  its  substantial  accuracy  in  other  important  particulars, 
indicate  that  he  was  taking  his  information  from  a  trust- 
worthy source;  hence  it  is  all  the  more  remarkable,  if  the 
Carmen  Saeculare  was  a  processional,  that  he  did  not  find 
mention  of  the  fact,  or,  finding  it,  failed  to  make  reference 

to  it 

The  Sibylline  verses '  are  of  doubtful  value,  yet  they 
must  not  be  left  out  of  consideration.  Thirty-seven  verses 
are  quoted  by  Zosimus ;  of  these  11.  16-22  only  are  of 
present  interest.  They  read:  *  And  Phoebus  Apollo,  Leto's 
eon,  who  is  also  called  the  god  of  the  sun,  should  receive 
like  ofierings ;  and  let  the  men  of  Latin  race  frequent  the 
sanctuary  of  the  deathless  gods,  singing  hymns  of  praise 
out  of  the  mouths  of  youths  and  maidens.  These  should 
chant  their  songs  responsively,  but  all  must  be  children  of 
living  parents,  whose  line  still  flourishes.'' 

While  the  reference  to  the  *  deathless  gods'  in  this  pas- 
sage may  be  general,  the  close  connection  with  the  preceding 
makes  it  seem  clear  that  the  poet  had  in  mind  Apollo  and 
Diana,  and  the  temple  on  the  Palatine ;  but  in  any  case,  so 
far  as  the  passage  may  be  taken  as  referring  to  the  move- 
ment of  a  chorus,  l^o"*'  is  inconsistent  with  the  idea  of  a 
procession. 

I  Quoted  both  by  Zosimus  {l.  L),  and  by  Phlegon  Trallianus  (f reed- 
man  of  Hadrian)  rrepl  MaKpo(3ivjv,  4.  The  worlds  of  the  latter  writer 
are  found  in  the  Scriptores  Paradoxorum  et  Rerum  Naturalium,  ed. 
Otto  Keller,  vol.  1,  pp.  57  fol.  See  also  Diels,  Sibyllinische  Blatter 
(Berlin,  1890)  passim  and  especially  pp.  133-135 ;  and  Stengel,  zum 
Sakularorakel,  Hermes,  vol.  27  (1892),  pp.  446-451. 

«  Kai  *oi/3<»f  'ATTdnorv 
hare  ml  ffiTiiog  KiKl^nerai,  laa  tkdixOu 
dvfiaTa  AriToi6fi<:,  Kal  aeidd/xevoi  re  Aarivoi 
TTataveg  Kovpoig  Kovpyai  re   vtjov  ixoiev 
adavdruv.     ;r"pif  (Jf  n6pai  xopov  avrai  ^;to*"' 
ml  X'^Pk  TraifJwv  apayv  ordxog,  aXM  yov^uv 
vdvrei  ^udvruv,  rol^  dfi^i6a?i.elc  en  (^hrlrj. 


The  Carmen  Saeculare 


55 


^  Four  coins  were  struck  in  commemoration  of  the  celebra- 
tion of  the  Saecular  Games  in  17  B.  c;  not  less  than  fifteen 
are  known  that  commemorate  the  celebration  of  the  Ludi 
Saeculares  by  Domitian,  in  87  a.  d.  Among  the  latter  is 
one  of  interest  in  relation  to  our  subject  (Cohen,  Mon.  frap. 
sous  I'empire  rom.,  Domitian,  no.  79;  discussed  by  Dressel* 
Eph.  Epig.,  vol.  8,  p.  313,  no.  10,  figured  Tab.  I,  10).  On 
the  reverse  are  seen  two  boys  clad  in  the  toga  and  a  girl,  all 
carrying  small  branches  in  their  uplifted  right  hands,  and 
advancing  toward  the  right.  The  association  with  Domi- 
tian's  celebration  is  obvious  from  the  legend:  cos  xiiii 

LVI>.  SAEC.  FEC  8.  C 

Notwithstanding  the  assertion  of  Preller,  already  referred 
to  (p.  49),  it  appears  probable  that  the  group  on  the  coin  is 
intended  to  represent  a  moving  procession.     We  can  hardly 
suppose  that  Horace's  Carmen  Saeculare  was  repeated  in 
the  celebration  under  Domitian;  and  we  do  not  know  for 
certain  that  a  similar  hymn  was  specially  composed  for  this 
occasion.     But  if  we  assume  that  the  singing  of  a  hymn 
like  that  of  Horace  formed  a  part  of  the  religious  exercises 
of  the  third  day  in  Domitian's  Ludi  Saeculares,  does  it 
follow  that  precisely  this  feature  of  the  festival  is  com- 
memorated on  the  coin?    And  if  this  be  considered  a 
reasonable  supposition,  are  we  warranted  in  using  so  in- 
secure evidence  in  determining  a  point  relating  to  the 
celebration  by  Augustus  more   than  one  hundred  years 
before  ? 

The  procession  was  a  common  and  characteristic  feature 
of  ancient  religious  celebrations,  both  Greek  and  Roman,— 
a  fact  so  familiar  that  no  citing  of  specific  instances'  is 
necessary.^  We  may  freely  grant  that  in  the  celebration  of 
the  Ludi  Saeculares  no  visual  effect  was  more  striking  than 
the  appearance  of  the  chorus  of  youths  and  maidens;  none 
would  have  been  more  apt  to  impress  a  designer  who  desired 

J  Cf .  p.  60. 


56 


University  of  Michigan  Studies 


The  Carmen  Saeculare 


57 


to  commemorate  the  occasion  in  plastic  art  Yet  on  the 
supposition  that  the  chorus  in  Domitian's  celebration,  as  in 
that  of  Augustus,  sung  first  in  the  temple  of  Apollo  on  the 
Palatine  and  then  in  that  of  Jupiter  on  the  Capitoline,  we 
may  inquire  which  the  designer  of  the  coin  would  have 
found  better  adapted  for  conventional  representation  in  so 
diminutive  a  relief,  the  group  of  youths  and  maidens  as 
they  were  actually  singing  in  either  temple,  or  the  aspect  of 
them  moving  in  procession  as  they  passed  from  one  temple 
to  the  other?  To  my  mind  the  answer  is  obvious;  the 
simplicity  and  movement  of  the  latter  gave  it  so  great  an 
advantage  that  the  designer  without  iiesitation  would  have 
chosen  to  emphasize  the  chorus  rather  than  the  song.  On 
the  supposition  that  Domitian's  coin  commemorates  the 
chorus  which  chanted  a  Saccular  hymn,  there  is  no  reason 
to  suppose  that  the  artist  intended  to  represent  it  as  singing 
either  in  the  temple  or  in  the  open  air ;  the  song  was  plainly 
enough  suggested  by  the  representation  of  the  singers. 
Without  confirmatory  evidence  we  should  not  be  justified 
in  basing  upon  this  coin  any  conclusion  in  regard  to  the  use 
of  Horace's  or  any  other  Carmen  Saeculare  as  a  processional ; 
and  it  is  worth v  of  note  in  this  connection  that,  as  we  learn 
from  the  Saccular  inscription  (1.  21,  choros  habendos'),  the 
chorus  in  the  Ludi  Saeculares  of  Augustus  was  called  upon 
to  render  other  hymns  as  well. 

The  early  part  of  this  inscription,  containing  the  direc- 
tions in  regard  to  the  composition  and  duties  of  the  chorus, 
is  unfortunately  mutilated ;  but  the  lines  that  are  concerned 
with  the  singing  of  the  Saccular  hymn  are  in  a  more  satis- 
factory condition.  In  lines  139-146  is  a  description  of  the 
aacrifice  oflered  to  Apollo  and  Diana  on  the  third  day  of  the 
celebration,  upon  the  Palatine  hill ;  then  we  read  (lines 
147-149):  Sacrificioque  perfecto  pueri  [X]XVII  quibus 
denuntiatum  erat patrimi  et  matrimi  et  puellae  totidem  \  car- 
fiitfji  cednfirunt,  eo[de\mque  modo  in  GapitoUo.  \  Camien 
composuit  Q,  BorlaQius  Flaccus, 


•■ 


The  meaning  is  plain.     Immediately  after  the  sacrifice  to 
Apollo  and  Diana  upon  the  Palatine  hill  the  chorus  sang— 
naturally  in  the  same  place-the  hymn  which  Horace  had 
composed  for  the  occasion  ;   after  that  they  sang  the  hymn 
*m  like  manner/  that  is,  a  second  time,  upon  the  Capitoline 
A   repetition  is  clearly  implied;     but  while    the    words 
eodemque  modo  m  Capitolio  show  that  the  chorus  must  have 
passed  from  the  Palatine  to  the  Capitoline  hill,  there  is  in 
them  no  suggestion  of  movement,  such  as  we  should  have 
expected  to  find  if  the  chorus  chanted  the  formal  hymn  on 
the  way;  for  we  are  dealing  here  with  an  official  document 
the  purpose  of  which  was  to  transmit  to  posterity  a  minute 
description  of  the  ceremonies  which  no  one  livincr  would 
ever  witness  again-a  document  which  was  drawn  up  so 
soon  after  the  event,  that  mention  of  so  important  a  feature 
as  the  use  of  Horace's  poem  as  a  processional,  in  case  it  had 
been  so  used,  would  not  have  been  omitted. 

It  is  not  important  for  our  purpose  to  inquire  whether 
the  Carmen  Saeculare  was  sung  in  the  temples  of  Apollo 
and  of  Jupiter,  or  before  the  temples.    The  indefiniteness 
of  the  references  to  place  (m  Palatio.  1.  J 39;  in  Capitolio, 
1.   148),  the  immediate  connection   between    the  sacrifice 
ofiered  naturally  on  the  altar  in  the  court  of  the  temple  of 
Apollo,   and   the   singing  of   the  hymn,   and   finally   the 
necessity  of  providing  room  for  the  audience  that  must  have 
been  permitted  to  be  present  on  the  occasion,  suggest  the 
conclusion  that  the  hymn  in  each  instance  was  rendered  in 
the  temple  court.    Some  weight  should  be  attributed  also  to 
a  consideration  advanced  by  Friedrich  (Q.  Horatius  Flaccus, 
Phil.  Untersuchungen,  pp.  98  fol.)  which  is  based  upon  the 
similarity  between  the  program  of  the  third  day  and  that  of 
the  second.     On  the  second  day  a  sacrifice  .was  offered  to 
Juno  Regina  upon  the  Capitoline,  followed  by  a  prayer  to 
the  goddess  said  by  110  matrons.     The  prayer  was  evidently 
offered  at  the  place  of  sacrifice,  in  the  open ;   and  in  like 
manner  the  hymn  following  the  sacrifice  to  Apollo  on  the 


58 


University  of  Michigan  Studies 


third  day  was  probably  rendered  before  the  temple.  But 
the  chanting  of  the  hymn  near  the  altar  before  the  temple 
is  as  inconsistent  with  the  use  of  it  as  a  processional  as  the 
rendering  of  it  in  the  edifice  itself  would  be. 

We  can  not  leave  the  inscription  without  raising  the 
question  whether  the  phrase  eodemque  modo  can  possibly  be 
invested  with  the  meaning  required  by  Mommsen's  theory. 
The  expression  is  obviously  elliptical,  but  it  is  easy  to  sup- 
ply the  missing  parts;  the  clause  in  full  would  read, 
eodemque  modo  carmen  in  Gapitolio  cecinerunt.  The  point 
at  issue  really  is,  whether  a  Roman  would  have  used  eodem 
modo  with  reference  to  the  chanting,  upon  the  Capitoline 
hill,  of  a  small  portion  of  a  hymn,  the  greater  part  of  which 
had  been  already  chanted  on  the  way  between  the  Palatine 
and  the  Capitoline. 

An  examination  of  a  considerable  number  of  passages,  in 
which  eodem  modo  occurs,  will  make  it  apparent  to  any  one 
that  this  phrase  is  used  ordinarily  to  introduce  a  situation 
or  condition  that  is  almost  identical  with  a  preceding  situ- 
ation  or  condition,  and  which  in  fact  differs  from  the  pre- 
ceding only  in  relatively  unimportant  particulars.  A  few 
instances  in  point  are: 

Oic.  De  Off.  2,  35,  Quam  ob  rem,  ut  volgus,  ita  nos  hoc 
loco  loquimur,  ut  alios  fortes,  alios  viros  bonos,  alios  pru- 
dentes  esse  dicamus ;  popularibus  enim  verbis  est  agendum 
et  usitatis,  cum  loquimur  de  opinione  populari,  idque  eodem 
modo  fecit  Panaetius. 

Here  Cicero  says  that  he  feels  obliged  to  use  expressions 
with  which  people  in  general  are  familiar,  and  that  Panae-, 
tins  did  likewise,  that  is,  Panaetius  treated  subjects  in  a  way 
that  the  common  people  could  understand. 

Cic.  De  Fin,,  4,  50,  eodem  enim  modo  tibi  nemo  dabit, 
quod  expetendum  sit,  id  esse  laudabile. 

Cicero  now  applies  a  principle,  formerly  stated,  to  a  new 
illustration,  and  draws  a  similar  conclusion ;  eodem,  modo  is 
equivalent  to  'just  as  before.'    Similar  is  Cato  Maior,  8, 


The  Carmen  Saeculare 


59 


Quod  eodem  ?nodo  de  senectute  did  potest,  where  Cicero 
applies  to  old  age  a  general  principle  drawn  from  a  concrete 
illustration,  that  just  as  personal  ability  and  favorable  sur- 
roundings are  necessary  to  a  man's  success,  so  happiness  in 
old  age  depends  upon  the  possession  of  both  wisdom  and 
moderate  means.  In  these  passages  the  sense  of  eodem  modo 
IS  likewise,'  'in  like  manner,'  *  also,'  and  approaches  closely 
to 'again.'  ■  "^ 

Other  illustrations  of  the  use  of  this  phrase  might  be 
cited;  but  it  is  needless  to  multiply  instances.     The  same 
phrase  occurs  twice  elsewhere  in  our  inscription,  each  time 
with  the  meaning,  'likewise,'  'also.'     One  instance  is  in 
1. 83,  a.  d.  Illk.  Imi.  eodem  modo  fruges  acceperunt ;  the  other 
in  1,  109,  Dei7ide  ludi  Latini  in  theatro  ligneo  quod  erat  con- 
stitutum  in  campo  secundum  Tiberim  sunt  commissi,  eodemque 
modo  sellisternia  matres  famiUae  hahuerunt.    This  last  pas- 
sage should  be  compared  with  1.  101,  which  describes  the 
first  celebration  of  the  sellisternia.     These  two  instances 
together  with  that  under  consideration,  in  no  respect  differ 
from  current  usage.     We  are  safe  in  concluding  that  had 
the  author  of  the  inscription  had  in  mind  the  use  of  the 
Carmen  Saeculare  as  a  processional,  of  which  only  a  small 
part  was  chanted  upon  the  Capitoline,  he  must  have  used 
an  altogether  different  form  of  expression;    for  eodemqm 
modo  in  CapitoUo  distinctly  implies  the  repetition  of  the 
entire    hymn.     The    brevity  of   the    expression   is  easily 
explained  by  the  unwillingness  to  draw  attention  from  the 
main  features  of  the  celebration  on  the  third  day,  which 
was  devoted  to  the  worship  of  Apollo  and  Diana. 

Our  analysis  of  the  evidence  thus  far  has  seemed  to  show, 
•first,  that  the  Carmen  Saeculare  was  sung  by  the  chorus 
upon  the  Palatine  hill,  and  then  repeated  upon  the  Capi- 
toline ;  and  secondly,  that  the  supposition  of  its  use  as  a 
processional  is  without  valid  support.  It  remains  for  us  to 
see  whether  any  new  light  can  be  thrown  upon  the  subject 
from  the  study  of  other  instances  of  choral  hymns  at  Rome, 


60 


University  of  Michigan  Studies 


and  whether  the  content  of  Horace's  hymn  offers  any  hint 
in  regard  to  its  musical  rendition. 

It  was  a  common  practice  in  connection  with  certain 
religious  celebrations,  for  choruses  of  boys  and  girls  to  sing 
hymns  while  advancing  in  procession  through  the  city;  or 
from  one  temple  to  another.  These  ceremonies  were  ordi- 
narily instituted  on  the  occurrence  of  prodigies  which  were 
interpreted  as  indicating  the  displeasure  of  a  dmnity.^ 
Thus  from  Livy,  27,  37  we  learn  that  in  the  year  207  b.  c. 
during  the  struggle  with  Hannibal,  fearful  signs  and  por- 
tents appeared  throughout  Italy.  At  a  mandate  issued  by 
the  pontifices,  twenty-seven  maidens  advanced  in  procession 
through  the  city  singing  a  hymn  {per  urhem  euiiies  carmen 
canerent)  We  are  fortunate  in  having  preserved  to  us  the 
name  of  the  composer,  the  poet  Livius.  Later  in  the  same 
chapter  Livy  relates  how  the  temple  of  Juno  Regina  upon 
the  Aventine  was  struck  by  lightning.  Among  measures 
taken  to  appease  the  supposed  anger  of  the  goddess,  twenty- 
seven  maidens,  clad  in  long  robes,  sang  a  hymn,  moving  in 
procession  to  the  temple  of  Juno  by  a  route  which  the 
historian  fully  describes. 

Again  in  200  b.  c,  as  we  learn  from  Livy  31,  12,  strange 
phenomena  and  prodigies  occurred,  and  again,  in  conse- 
quence of  a  decree  issued  by  the  decemviri,  a  hymn  was 
sung  in  procession  {per  urhem)  by  twenty-seven  maidens. 
The  hymn  for  this  occasion  was  composed  by  P.  Licinius 

Tegula. 

Although  these  instances^  seem  parallel,  they  are  essen- 
tially different  from  the  ceremonies  connected  with  the 
Saecular  Games.  In  the  former  the  hymn  was  sung  to 
propitiate  or  appease  certain  divinities  whom  the  Romans 

iSee  Livy,  86,  87;  40,  19,  etc.,  and  the  Liber  Frodigiorum  of  Jul. 
Obsequens;  cf.  the  following  footnote,  and  F.  L^te^^^;^;/'  »«'• 
Prodiglenglanbe  nnd  der  Prodigienstil  der  Romer,  Bnrgdorf,  1880. 

»  A  full  list  of  such  references  will  be  found  in  Marquardt,  Rom. 
Staatsverw.,  vol.  8«,  pp.  259  fol. 


The  Carmen  Saeculare 


61 


on  the  appearance  of  terrible  signs  believed  to  be  offended. 
The  signs  varied,  the  divinities  appealed  to  were  not  always 
the  same,  the  singing  was  attended  with  various  ceremonies, 
but  the  theme  of  all  was  the  same ;  they  were  propitiatory 
verses,  rather  than  songs  of  praise  and  prayer;  but  to  the 
latter  category  assuredly  belongs  the  poem  of  Horace,  which 
was  addressed  to  favoring  and  protecting  deities.  The  Ludi 
Saeculares  may  have  had  their  origin  in  propitiatory  cere- 
monies, but  the  original  purpose  of  the  celebration  was 
doubtless  lost  sight  of  in  the  time  of  Augustus.'  Again, 
we  have  no  knowledge  of  the  contents  of  the  poems  which 
Livius  or  Tegula  composed.  We  therefore  can  not  tell 
whether  they  were  ap  iropriate  for  a  procession,  unhampered 
in  its  movements,  or  for  one  passing  over  a  prescribed  route. 
It  is  probable  that  Uiese  propitiatory  hymns  were  sung  by  a 
chorus  that  was  unrestricted  in  time  and  position.  Finally, 
Livy  takes  the  pains  to  point  out  in  every  instance  the  fact 
that  the  chorus  moved  in  procession  through  the  city, — in 
marked  contrast  with  the  testimony  of  our  inscription. 

Even  in  the  case  of  propitiatory  carmina,  however, 
instances  are  not  wanting  of  the  chorus  singing  at  the 
temple  only.  This  seems  clear  from  a  passage  in  Macrobius. 
On  the  occurrence  of  prodigies,  the  Sibylline  books  were 
consulted,  and  the  duumvirs  reported  (Sat.  1,  6,  13) :  in 
Capitoliosupplicandum  .  .  .  Acta  igitur  ohsecratio  est  pueris 
ingefiuis  itemque  libertinis  sed  et  virginibus  patrimis  matri- 
misque  pronuntiantibus  carmen.  Also  in  Livy  37,  3  and 
Julius  Obsequens,  40;  48,^^  where  the  situation  in  each  case 
is  similar,  although  no  mention  is  made  of  singing,  it  is 
highly  probable  that  this  was  the  part  which  the  boys  and 
girls  took  in  the  supplicatio. 

We  come  now  to  an  examination  of  the  Carmen  Saeculare 

'  Cf.  Pinza,  Sopra  I'origine  del  ludi  Tarentini  o  Saeculares,  Bull, 
com.,  vol.  24  (1896),  pp.  191-230. 

2  Cf.  also  Jul.  Obs.  (ed.  Jahn)  86  ;  43  ;  46  ;  53,  when  specific  mention 
is  made  of  choruses  singing  in  procession. 


62 


University  of  Michigan  Studies 


itself.  Many  theories  have  been  set  forth  concerning  the 
dirision  of  the  hymn  in  the  assignment  of  the  stanzas  to 
the  youths  and  maidens.  The  question  need  not  be  dis- 
cussed at  length  in  this  place,  since  it  does  not  intimately 
concern  our  subject.  The  arrangement  first  suggested  by 
Steiner  Ms  usually  followed.  The  first  and  second  stanzas 
are  addressed  to  Apollo  and  Diana.  The  third  stanza  also 
is  really  an  invocation  to  Apollo,  oare  Ka\  rjfKios  KiKXrjo-KfTai. 
Stanzas  4-6  are  directed  to  Ilithyia.  This  goddess  of  child- 
birth was  sometimes  represented  in  Greek  and  Roman 
mythology  as  the  daughter  of  Juno,  at  other  times  identified 
with  Juno  or  with  Diana.''  We  may  regard  Ilithyia  in  the 
passage  before  ns  as  a  conception  closely  related  to  that  of 
the  virgin  goddess.  A  separate  divinity  is  indicated,  how- 
ever, in  the  Sibylline  verses  (1.  9),  where  the  plural  form  of 
the  name  is  used,  and  in  the  inscription  (11.  115-118)  a 
separate  sacrifice  is  made  to  the  Ilithyiae.  In  the  seventh 
stanza  the  Parcae  are  invoked,  and  in  the  eighth,  Ceres;  in 
the  first  half  of  the  ninth,  Apollo,  and  in  the  second  half, 
Luna  or  Diana.  The  assignment  of  stanzas  10-12  is  dis- 
puted. Stanza  13  is  addressed  to  Jupiter  and  Juno;  this  is 
clearly  shown  by  the  use  of  the  plural,  vos;  by  the  language 
of  the  inscription  11.  103,  119,  directing  that  sacrifices  of  a 
hos  mas  and  a  hos  femina  be  made  respectively  to  Jupiter 
Optimus  Maximus  and  to  Juno  Regina;  and  also  by  11.  12- 

16  of  the  Sibylline  poem,  ndv^evKoi  rai/poi  df  Ai6s  napa  /3o)/z6i/ 
dy€a$a)V  .  .  .   dnfxakijs    rt    ^oos    defias    dyXaov   "Hpijf    dc^daBio    prjos. 

With  regard  to  stanzas  10-12  we  may  inquire,— Are  they 
addressed  to  all  the  gods  (as  11.  45,  46,  the  beginning  of  the 
apodosis,  might  indicate),  or  to  Apollo  and  Diana,  who  are 

iThis  arrangement  is  found  in  the  editions  of  Wickham,  Orelli- 
Hirschfelder,  Dillenburger,  and  others,  and  is  adopted  by  Friedrich, 
Q.  Horatius  Flaccus,  Phil.  Untersuchungen,  pp.  93-95. 

»Cf.  Panly,  Realeneyclopadie,  and  Daremberg  and  Saglio,  Diet,  des 
Ant,  «.  V,  Ilithyia.  See  also  Banr,  Eileithyia,  in  University  of 
Missouri  Studies,  vol.  1,  pp.  367  fol. 


The  Carmex  Saeculaee 


63 


invoked  in  the  preceding  stanza,  or  to  Jupiter  and  Juno, 
who  are  addressed  in  the  following  stanza?  The  second 
supposition/  which  I  prefer,  is  strengthened  by  the  words, 
audi,  audi  (11.  34,  36),  with  which  the  chorus  beseeches  the 
attention  of  Apollo  and  Diana.  Stanzas  14  and  15  form  a 
short  discourse  upon  the  present  dominion,  morality,  and 
prosperity  of  the  empire.  The  sixteenth  and  seventeenth 
stanzas  are  again  addressed  to  Apollo,  the  eighteenth  to 
Diana.  The  last  stanza  declares  the  hope  of  the  chorus 
that  their  prayer  is  heard  by  Jupiter  and  by  all  the  gods. 
We  may  thus  outline  the  poem  according  to  the  following 
division : 

Stanzas      1,  2,  addressed  to  Apollo  and  Diana, 
3,        "  "  Apollo, 

4-6,        "  "  Ilithyia  (Diana), 

7,  "  "  the  Parcae, 

8,  "  "  Ceres, 
9-12,        "          "  Apollo  and  Diana, 

13,        "  "  Jupiter  and  Juno, 

14,  15,  relating  the  present  condition  of  the  empire, 
16,  17,  addressed  to  Apollo, 
18,         "  "  Diana, 

"  19,  expressing  hope  of  the  chorus. 

This  analysis  makes  it  clear  that  the  Carmen  Saeculare 
was  addressed  chiefly  to  the  Palatine  divinities,  Apollo  and 
Diana.'  Of  the  nineteen  stanzas,  ten  contain  direct  in- 
vocations to  these  deities ;  while  only  one  can  be  assigned 
to  Jupiter  and  Juno,  whose  names,  even  in  this  stanza,  are 
not  explicitly  mentioned.  The  hymn,  moreover,  was  sung 
on  a  day  especially  dedicated  to  the  worship  of  Apollo  and 
Diana,  and  immediately  after  sacrifice  had  been  offered  to 
them;    and  the  closing  lines  of  the  poem  refer  to  the 

»Vahlen,   Kiessling,    Wickham,    Hirschfelder   and    other   scholars 
refer  these  stanzas  to  Apollo  and  Diana. 

2  See  Hermann,  De  loco  Apolliuis  in  Carmine  Saeculari,  Gott,  1843. 


<t 


« 


ik 


€€ 


it 


« 


a 


a 


a 


64 


University  of  Michigan  Studies 


chorus  as  trained  to  sing  the  praises  of  these  divinities, 
doctus  et  Phoebi  chorus  et  Diaiiae  dicere  laudes.  The  fact 
that  the  Capitoline  god.s  are  not  mentioned  by  name  is 
explained  by  Mommsen  (siipr/i  p.  52),  though  not  satisfac- 
torily, by  supposing  that  the  people  present  at  the  celebra- 
tion understood  what  divinities  were  indicated  in  stanzas 
10-13  (11.  37-52)  from  the  position  of  the  chorus  which 
was  already  in  sight  of  the  temple  of  Jupiter  Capitolinus. 

But  there  is  reason  to  suppose  that  the  character  of  the 
Ludi  Saeculares,  as  celebrated  by  Augustus,  was  quite 
■different  from  that  of  the  earlier  time.  They  were  no 
longer  a  festival  in  honor  of  Dispater  and  Proserpina,  as 
when  first  instituted  (Val.  Max,  2,  4,  5).  During  all  the 
ceremonies  a  prominent  place  was  given  to  Apollo,  whose 
worship  in  Italy  was  greatly  extended  during  the  last  of 
the  first  century  b.  c,  and  who  was  regarded  as  the  direct 
protector  of  the  emperor  and  his  family.^ 

If  we  adopt  the  theory  of  Mommsen,  we  must  assume 
that  at  least  the  first  three  stanzas  of  the  hymn  were  sung 
at  the  temple  of  Apollo.  The  chorus  would  then  begin  to 
move  on  its  way  to  the  Capitoline  hill,  and  could  properly 
sing  the  following  five  stanzas.  But  how  are  we  to  regard 
the  ninth  stanza  which  a  second  time  directly  invokes 
Apollo  and  Diana?  What  is  still  more  difficult,  at  the  very 
next  verse,  according  to  Mommsen's  assignment,  the  chorus 
should  be  standing  before  the  temple  of  Jupiter.  If  at  this 
sanctuary  the  chorus  sang  through  stanza  13,  only  two 
verses  remain  before  the  procession  should  have  returned 
to  the  Palatine  hill.  Are  we  to  assume,  then,  that  the 
chorus  sang  six  stanzas  on  the  way  to  the  Capitoline,  and 

iSee  Preller,  Rom.  Myth.  vol.  1\  pp.  309-311;  Kiessling,  Zu 
Angusteischen  Dictern  (Phil.  Untersuch.,  vol.  3),  p.  93;  Pascal,  II 
Cnlto  di  Apollo  in  Roma  nel  secolo  di  AuguBto,  Bull,  com.,  vol.  23 
(1894),  pp.  52-88. 


The  Carmen  Saeculare 


65 


f 


t 


f 


but  two  in  returning?    Such  an  arrangement  would  not 
have  been  symmetrical.* 

But  the  theory  of  a  processional,  furthermore,  does  not 
meet  the  topographical  requirements.  The  path  of  the 
chorus  would  be  along  the  Clivus  Palatinus  to  about  the 
point  where  the  Arch  of  Titus  stood  in  later  times,  thence 
by  the  Via  Sacra  to  the  Clivus  Capitolinus,  which  led  by  a 
Jong  winding  path  to  the  area  before  the  shrine.  The  dis- 
tance covered  by  the  chorus  in  passing  over  this  route  may 
be  calculated  roughly  as  about  3500  feet.  We  must  suppose 
that  such  processions  moved  very  slowly;  but,  not  to  lay 
emphasis  on  the  infelicitous  choice  of  the  sapphic  stanza'' 
for  a  hymn  to  be  sung  while  marching,  the  adjustment  of 
the  choral  performance  to  the  distance  traversed  would  be 
difficult. 

Naturally  other  hypotheses  suggest  themselves  which 
might  still  make  Mommsen's  theory  possible.  We  may 
suppose  that  the  Carmen  was  repeated,  perhaps  several 
times.  But  since  the  theory  of  a  procession  depends  alto- 
gether upon  the  assignment  of  the  first  and  last  portions  to 
Apollo  and  Diana  and  the  middle  portion  to 'Jupiter  and 
Juno,  such  a  theory  may  be  entertained  only  by  assuming  a 
single  rendering  of  the  hymn.  Or,  we  may  say  that  the 
chorus  left  the  temple  of  Apollo  at  the  very  first  line  and 
returned  at  the  very  last.  But  this  also  involves  diflficultiee 
and  inconsistencies.  Even  in  such  a  case  the  poem  is  too 
short  for  a  single  rendering  by  a  procession  moving  slowly 
over  so  great  a  distance.  The  least  objectionable  method  is 
to  suppose  that  each  line  was  repeated  several  times,  like 
the  song  of  the  Arval  Brethren.  But  Mommsen  does  not 
approve  of  a  line  repetition,  which  in  the  case  of  so  finished 

'  A  slightly  different  arrangement  is  conceived  by  Thiele,  Horaz 
und  sein  Sakulargedicht  (Erfurt,  1900),  pp.  25-27,  and  by  Wissowa, 
Die  Saecularfeier  des  Augustus  (Marburg,  1894),  p.  22,  n.  13. 

«Cf.  Christ,  Sitz.  d.  kgl.  bayr.  Acad.,  1893,  pp.  143,  144. 
5 


66 


University  of  Michigan  Studies 


a  work  as  Horace's  Carmen  Saeculare  would  in  fact  have 
been  quite  unsuitable. 

In  conclusion,  it  seems  to  me  probable  that  the  Carmen 
Saeculare,  as  a  whole,  was  first  sung  upon  the  Palatine  hill, 
in  front  of  the  temple  of  Apollo,  immediately  after  sacrifice 
had  been  offered  to  the  god;  that  then  in  stately  procession 
the  chorus  passed  over  to  the  Capitoline  hill,  possibly 
chanting  hymns  along  the  way,  and  waving  branches  of 
laurel;  and  that  there  the  Carmen  was  repeated.^ 

Walter  Dennison. 

University  of  Michigan. 

1  An  interesting  attempt  at  rendering  the  Carmen  Saeculare  in 
procession  is  recorded  in  the  The  Century  Magazine,  Oct.  1899,  pp. 
842-848. 


\ 


